Altruism, Activism, and the Moral Imperative in Craft
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Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2009 Altruism, Activism, and the Moral Imperative in Craft Gabriel Craig Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Fine Arts Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1713 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Gabriel Craig 2009 All Rights Reserved Altruism, Activism, and the Moral Imperative in Craft A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University by Gabriel Craig Bachelor of Fine Arts (emphasis in Metals/ Jewelry), Western Michigan University, 2006 Director: Susie Ganch Assistant Professor, Department of Craft/ Material Studies Virginia Commonwealth University Richmond, Virginia May 2009 Acknowledgements I would like to acknowledge several people who have contributed to my success and development as an artist, writer, and as a person of good character in general. First, I would like to thank my father, without whose support the journey would have been much more difficult, Amy Weiks whose unwavering love and support has provided the foundation that allows me to take on so many projects, Susie Ganch, whose mentorship, honesty, and trust have helped me to grow like a weed over the past two years, Natalya Pinchuk whose high standards have helped me to challenge myself more than I thought possible, Sonya Clark who baptized me into the waters of craft and taught me to swim, and Dr. Charles Brownell who encouraged my curiosity and helped me to become a better writer, thinker, and researcher. Also, I would like to thank my brother, Sean Craig, who nobly endured my direction as we collaborated on The Moral Imperative in the Craft Marketplace, and my colleagues in the Craft/ Material Studies Department whose friendship and criticism helped me find my way. ii Table of Contents Page Acknowledgements.................................................................................................. ii List of Figures.......................................................................................................... v Abstract.................................................................................................................... vi Part 1 – Understanding the Moral Imperative: Past, Present and Future........ 1 Chapter 1 – The Moral Imperative in Craft: A Continuum of Concern.............. 2 Introduction................................................................................................... 2 Early Imperatives .......................................................................................... 3 The Arts and Crafts Movement – Social Dissent Imperatives in a Modern World.................................................................................. 7 The Arts and Crafts Movement in America.................................................. 12 The Decline of the Arts and Crafts Movement and the Moral Imperative........................................................................ 15 Chapter 2 – Craft in the 21st Century Marketplace ............................................. 18 Introduction................................................................................................... 18 Declining Markets......................................................................................... 18 Slow Food, CSAs, and the Green Movement ............................................... 23 Craft and the Contemporary Moral Imperative............................................. 28 Chapter 3 – Considering Craftivism: Craft as an Interactive Practice................ 33 Introduction................................................................................................... 33 Charting Altruism and Activism in a Project Based Practice ....................... 35 iii Self-Reliance Projects ................................................................................... 36 Educational Projects...................................................................................... 38 Community Engagement Projects................................................................. 39 Philanthropic Projects ................................................................................... 41 Part 2 – Application of the Moral Imperative...................................................... 43 Chapter 4 – Technical and Material Concerns.................................................... 44 Chapter 5 – Personal History .............................................................................. 46 Narrative of Development in Graduate School............................................. 46 Curriculum Vitae........................................................................................... 50 Bibliography ............................................................................................................ 55 Appendix - Documentation of Philanthropy Failed: The Altruist Series ............ 58 iv List of Figures Figure 1: The Venus of Willendorf, Stone, c. 22,000 – 24,000 B.C.E. Figure 2: Roman Ring in the Hellenistic Style depicting Asclepios the Greek God of Medicine, Gold. c.100-200 C.E. Figure 3: Detail of Saint John Window, South Nave, Chartres Cathedral, Chartres France, Stained Glass, 13th Century. Figure 4: Pelican Ciborium, Italian, Gilt Copper, c. 1540. Figure 5: The Tor Abbey Jewel, Enamel, Gold, c. 1540. Figure 6: A.W.N Pugin, Cover Page The True Principals of Pointed or Christian Architecture, 1841. Figure 7: A.W.N. Pugin, Bread Plate, Waste Not Want Not, Earthenware, Encaustic Inlay, c. 1850. Figure 8: Felix Gonzalez-Torres, Untitled (Portrait of Ross in L.A.), Wrapped Hard Candies, 1991. Figure 9: Participants Sorting Jewelry for Radical Jewelry Makeover, 2007. Figure 10: Futurefarmers, The Reverse Ark, Pasadena City College Art Gallery, 2008. Figure 11: Michael Swaine, Free Mending Library, 2002 (ongoing). Figure 12: Keith Mendak, Project Hope, 2008. Figure 13: Stephanie Rahmstorf, CO2 Pins: Jewelry for Our Climate, Sterling Silver, Pearls, 2006. Figure 14: Craft Pieceº 2, Table, Glass Platter, 14 & 18 Karat Gold, Various Faceted Gem Stones, Projected Video, 2007. Figure 15: 161 Studies From Contemporary Studio Jewelry, Research Drawings, 2007. Figure 16: The Narcissist Suite, Rings, Books, Postcards, Video, 2008. Figure 17: The Pro Bono Jeweler, Performance, 2008. v Abstract Altruism, Activism, and the Moral Imperative in Craft By Gabriel Craig, MFA A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2009. Major Director: Susie Ganch Assistant Professor, Craft/ Material Studies Department I consider myself a metalsmith although my interest in materials and ideas extend beyond the boundaries of traditional practice. I approach my work thematically, meaning that I treat my discipline as a framework for a broad investigation rather than as a skill set or process. The outcomes of this approach are therefore varied and include jewelry, installation, performance, video, interactive community based projects, print and web based writing, and historical research. It is through humor or direct viewer interaction that I promote accessibility in my work. My ideas are layered and communicated in a way that allows viewers to engage on multiple levels, from superficial aesthetic appreciation of my jewelry to complex theoretical contemplation of my multi-media installations. I frequently use text, photographs, and video for their transparency and accessibility as communicative devices. In general my process favors ideation over formal aesthetics, sometimes neglecting vi objecthood in the pursuit of audience engagement. In my writing I employ a wry and biting style, using humor and metaphor generously. My interest in historical craft production frequently seeps into my writing. My studio practice, writing and research have a complementary relationship. My thesis work has two main components, the physical exhibition, Philanthropy Failed: The Altruist Series and the written thesis, Altruism, Activism, and the Moral Imperative in Craft. These two components are different manifestations of the same investigation into ethical production and market imperatives embedded in craft objects and interactive craft-based projects rooted in the desire for social change. Philanthropy Failed: The Altruist Series embeds the logos of prominent non-profit organizations into jewelry creating an object that, through commerce, can raise money and awareness for a charitable cause. The rejection of the project by the organizations that I sought to support highlights the cultural impotence of the individual to engage in meaningful social change activities. The exhibition documents the jewelry artifacts and their rejection by non-profit organizations, as well as three related videos; two documenting educational jewelry making performances (The Pro Bono Jeweler Series), and one chronicling the current state of ethical production within the established craft marketplace (The Moral Imperative in the Craft Marketplace). Altruism, Activism, and the Moral Imperative in Craft begins by